– Hello, thanks for answring to our questions. What are you guys currently up to? How does it feel being near to release your first album in 6 years? Moreover, it will be the first one in over a decade with the original line-up, again as a trio.

It feels good. It’s been a long road to get here and its just the beginning.

– Getting a bit deeper into this; how did Reed’s comeback arise?

Reed needs to be playing music and especially needs to be playing drums because there’s no one like him. He and I started a band called Righteous Fool a couple of years ago. We actually just began recording an album. He was really getting back to his full form as a drummer when Pepper suggested C.O.C. should reunite for some festivals. Woody was in and we were ready to do it but ultimately Down did the shows instead. At that point we thought » Maybe we should play as a trio..


– As I said, «Corrosion of Conformity» is your first album since «In the Arms of God», some years ago so; what are your expectations? I guess expectations for such a long-awaited piece may be high, specially from your fans, both old and new.

We have no specific expectations other than if we get out and tour on a very good album, which I think we have, good things will happen.


– On the album I noticed like you guys were going a bit back to your roots, giving again to that Punk/Hardcore sound of your earlier releases a bigger role than to the Stoner Metal flavour. Maybe the line-up has had something to do with this? Or are you really going back to your roots?

Originally as a group we were rehearsing a set of «Animosity» material while writing new songs. So that was our starting point for the songwriting. As the process progressed, the album took on a life of its own and became more diverse than that and I think more interesting.


– This is your first self-titled album, your first self-titled album after such a long career, when most bands tend to self-entitled their first opus for instance. Does this have any special meaning? I personally think is a perfect choice, as this record describes what you’ve done throughout the years.

When you make a change in line up like we did, where suddenly a major contributor like Pepper is not on the record, you are bound to face some criticism. Anticipating that, we thought we should come out with two middle fingers blazing and say that this is our defining work. So its deliberately provocative.


– The cover artwork, a different version of your logo, also seems a statement, isn’t it? Would you mind to elaborate a bit on this (how did you come up with the idea, etc.)?

Seldon Hunt is a really good illustrator and I saw some t-shirt design he did in that clean, fine line style and I thought that I’d love to see the skull reinterpreted that way. Hopefully it mirrors the music in that it is concise but there is always a little bit more to discover in it.»


– Each song in the album has its own feeling, all songs are different to the other, with elements from different music styles and different patterns, but one song really caught my attetion: «El Lamento de las Cabras». What could you comment on this tune? And, as I’m from Spain, I’m specially curious about it’s Spanish title.

Some titles just sound better in certain languages. To our American ears this one was better in Spanish. I recorded a demo version of Woody playing this song in his barn. He finished his guitar part and went out to visit with the family gathered under some shade trees. It was a hot day and the windows were open as I overdubbed a bass part and made a mix of the idea. Earlier Woody said «Popeye isn’t looking too good.» Popeye was a goat and a little later he dropped dead. As I provided the soundtrack, Woody put Popeye in a wheelbarrow and hauled Popeye off to the lower pasture for the coyotes and vultures. As Popeye was wheeled along the fence, the other goats and the donkeys followed along to pay their respects, like a funeral procession. We were going to call it «Popeye’s Lament», but that sounded lame. It was better in Spanish.


– On the record we can find «Your Tomorrow», which you released as a single some time ago. Did you have back then more material that has been part of the new album? How was the whole songwriting process?

«Your Tomorrow was written very quickly to be a single for our first reunion tour in late 2010. We originally had that one, The Doom, The Moneychangers and Rat City in the set from the start because we didn’t want to be a nostalgia act.»


– If I’m not mistaken, you recorded the album at Studio 606, Dave Grohl’s studios. Why did you decide to record there?

Because it’s a very good sounding room with very nice mostly old equipment. It gave us a chance to get the sound of the records we grew up on. Also he gave us the family rate, which made it possible.


– And how were the recording sessions like? Sicne as far as I know, you toured quite a lot in between.

We did our basic tracks in the spring, went on tour did overdubs in the summer, went on tour again and mixed in the fall and went on tour.Now we will release the album and, you guessed it, go on tour.


– «Corrosion of Conformity» is your first album with Candlelight Records. How did you hook up with them? And how’s everything going so far with this label?

They made an offer that was good and came out to our London show- Meeting the owners and hearing good things from my friend in Daylight Dies was enough to give it a try. So far we like like what we see.


– Finally, what are your near-future plans? If I’m not wrong you will be touring the States later this year but, are there plans for European dates?

We will be announcing European dates large and small really soon.


– That has been all from my side, thanks once more for taking the time. If you want to add some final words; last lines are yours.

We’re really looking forward to coming back to Spain soon because we always have such a good time. I like to say, with all of the variety and regional differences, it;s three of my favorite countries.

Tania Giménez


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